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PLEASE DO NOT REMOVE THIS PAGE Finding Furphy Country: Such Is Life and Literary Tourism View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository Thank you for downloading this document from the RMIT Research Repository 7KH50,75HVHDUFK5HSRVLWRU\LVDQRSHHQDFFHVVGDWDEDVHVKRZFDVLQJWWKHUHVHDUFK RXWSXWVRI50,78QLYHUVLW\UHVHDUFKHUV 50,755HVHDUFK5HHSRVLWRU\KWWSUHVHDUFKEDQNUPLWHGXDX Citation: Magner, B 2013, 'Finding Furphy country: such is life and literary tourism', JASAL - Journal of the Association for the Study of Australian Literature, vol. 13, no. 1, pp. 1-18. See this record in the RMIT Research Repository at: http://researchbank.rmit.edu.au/view/rmit:22904 Version: Published Version Copyright Statement: © 2013 Author, Association for the Study of Australian Literature Link to Published Version: http://www.nla.gov.au/openpublish/index.php/jasal/article/view/2597 PLEASE DO NOT REMOVE THIS PAGE Finding Furphy Country: Such is Life and Literary Tourism BRIGID MAGNER RMIT University Joseph Furphy, considered to be ‘the father of the Australian novel’, is best known for Such is Life, a little-read and often baffling novel about life in rural Australia. In 1981 Manning Clark claimed that Furphy is ‘the author of a classic which few were to read and no one was ever to establish clearly what it was all about’. Julian Croft observes that Such is Life is a ‘cultural monument’ which is ‘more often referred to than read for pleasure’ since it ‘tests the skill, patience and endurance of those who attempt it’ (TC 275). The demanding nature of the novel, with its unusually complex narrative structure, inter- textual references and playful use of language, can be off-putting to many readers but it has attracted a small number of dedicated followers, who have been largely responsible for the efforts to memorialise Furphy and his contribution to Australian literary culture. This paper will consider various sites within the nascent Furphy heritage industry, arguing that they offer tourists opportunities to engage imaginatively with aspects of Australia’s frontier past. Literary geographies Literary geography dates back to the beginning of the twentieth century, as exemplified by William Sharp’s Literary Geography (1904). One of Sharp’s achievements was to locate the novels of Walter Scott onto a map of Scotland. As Barbara Piatti et al argue, early experiments in literary geography often attempt to visualise the distribution of literary settings, but maps perform a secondary function to the written text. Territorial and topographical aspects of literature have awakened new possibilities for researchers in recent times. Also described as a ‘spatial turn’ within the humanities, this renewed focus on landscape has generated a range of literary projects including Malcolm Bradbury’s (1996) The Atlas of Literature in which detailed maps and street plans are used to highlight the spaces that writers and writings inhabited, created and transformed. Franco Moretti’s Atlas of the European Novel 1800-1900 (1998) uses maps to show the spread of JASAL 13.1 Finding Furphy: Literary Tourism interwoven literary geographies. Moretti’s work has been groundbreaking in its extensive use of maps as tools to interpret patterns of literary production and dissemination. Inspired by Moretti, the Literary Atlas of Europe project is currently attempting to visibly render complex overlays of real and fictional geographies. Literary tourism, which involves the interconnected practices of visiting and marking sites associated with writers and their work, has been evolving in Anglophone countries since the nineteenth century. Various systems of memorialisation have been developed, ranging from the official and topographical such as the setting up of memorials and plaques, to more intimate rituals such as following in the footsteps of writers or their characters (Watson 2-3). While literary tourists may seek out the settings of their favourite fiction, some writers choose settings which have a ‘real world’ counterpart and some are not reproduced realistically at all. As Piatti et al observe, settings can be completely invented; a cross-fading of two spaces; an existing region with fictitious elements; a likely place with an invented name or an existing region remodelled, like Furphy’s Riverina in Such is Life (Piatti 180). The business of literary tourism in Australia is under-developed compared to the thriving heritage industries of Britain and America but there is increasing interest in tracking places that are connected with local authors and their work. The sites associated with Joseph Furphy, including the Tom Collins and Mattie Furphy houses in Perth and the Furphy memorial in Shepparton, are still in the early stages of their evolution as tourist locations, and there is little research to indicate what these places represent to visitors. This article relies on my own impressions along with first person accounts from a handful of scholarly tourists. Shepparton, the birthplace of Such is Life To go to the precise location where Such is Life was written is to engage in a kind of literary tourism, since this practice effectively links the text to place by supplementing reading with travel (Watson 5). One of the central locations for Furphy tourism is the Welsford Street memorial in Shepparton, Victoria. The memorial stands on the site of the ‘sanctum’ Joseph Furphy had built for himself at the rear of his cottage. Miles Franklin provides an evocative description of the cottage in her account of Furphy’s life: Furphy’s cottage in Shepparton faced Welsford St. It backed on to the Goulburn River, which here runs into an eroded channel yards wide and deep. Holding the lower banks are noble river gums. To one side is the bridge, directly across the stream is the untouched bush. Up-stream the river comes round a sharp bend and has a spit of low 2 JASAL 13.1 Finding Furphy: Literary Tourism bank to make an ideal base for swimming, squealing, gambolling boys in summer. In wet seasons the roaring floods would be grand. The sanctum that Furphy built behind the cottage was right on the edge of the chasm. (59) Franklin emphasises the picturesque environment surrounding the writer’s house, with the ‘untouched bush’, the river as a site of children’s play, and the steep ‘chasm’ immediately behind the sanctum. The description allows the reader to imagine Furphy’s writing room in a ‘natural’ setting; a far cry from its current, concrete-bound location. The site of Furphy’s house in Welsford Street, Shepparton Furphy’s ‘skillion’ had just enough room for a stretcher bed, table and a chair, but Furphy retired there every evening from six to ten to work on his ‘magnum opus’. This is a romantic image that appeals to ideas about the solitary writer. Critics have discussed the romantic impulse involved with visiting destinations orientated around certain ‘creative’ figures. John Urry distinguishes between the ‘collective gaze’ of mass tourism and the ‘romantic gaze’ which is more closely associated with the middle-class traveller. The ‘romantic’ gaze is concerned with the elitist—and solitary—appreciation which involves considerable cultural capital especially if detailed knowledge of specific literary texts is required (Urry 80). 3 JASAL 13.1 Finding Furphy: Literary Tourism In Furphy’s case there is certainly an element of truth to this romantic notion of the writer as outsider, seeking solitude and revelation outside the mainstream. Because of his work and family commitments, Furphy was only able to make a single trip to his publisher at the Bulletin office in Sydney. During this visit he met literary luminaries such as Norman Lindsay, Victor Daley, Edward Dyson and Steele Rudd yet there was disappointingly little correspondence to follow. He felt misunderstood by those immediately around him, seeking solace in letter-writing with sympathetic friends such as William Cathels, an auto-didact like himself. Barnes and Hoffmann comment, ‘Within his circle of friends at Shepparton Furphy was often called “Shakespeare”, a reference to his love and detailed knowledge of the plays;… Furphy was recognised by his fellow workers as “of us, but not one of us”’ (Letters 8). Furphy never depicted Shepparton itself, the place where he lived and worked for 21 years, and the two decades he spent there are not directly reflected in Such is Life. Nevertheless, the Furphy family unveiled a memorial in Welsford Street on 12 March 2005. Andrew Furphy, Joseph’s great-grandnephew, says he commissioned the memorial and the play, The Order of Things, by local director Matt Scholten on the life of Furphy, because for a long time he had been feeling ‘pretty guilty’ about the neglected birthplace of Such is Life (Sullivan 2005). The original cottage, including the lean-to where Furphy worked, was demolished in 1940 by Tom Fawcett. Some of the bricks were used in a subsequent house that was occupied by Fawcetts until 1955 before being torn down in the 1960s. According to Judith Powell, Fawcett’s daughter, Furphy was known as the previous owner but there was little interest in preserving the house at the time. During the 1940s however, inquiries were made by the local Literary Society about the site of Furphy’s residence and in 1947 it organised a special ceremony, attended by Miles Franklin to place a plaque on the wilga tree originally planted by Furphy (Powell). At the front of the Welsford Street site, there now stands a statue in bronze by Castlemaine sculptor Phil Mune, depicting Furphy squatting under the old wilga tree, stirring a
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